https://egotickets.com/events/....iba-music-festival-2 inside a powerful AES conversation with Empress Ajé, creator of the ÌBÀ Music Festival, as she shares the vision, spiritual grounding, and cultural purpose behind this growing movement.In this rich discussion, Empress Ajé opens up about the meaning of ÌBÀ, the festival’s roots in Trinidad and Tobago, and why this year’s TriniGhana Experience is such an important bridge between Ghana and the historic diaspora. She speaks on honoring the ancestors, uplifting the divine feminine, and using music, performance, and community gathering as vehicles for deeper reconnection.This conversation also explores why the ÌBÀ Music Festival is a natural fit as an official D.O.O.R. event, and why repatriation must be understood as more than documents and logistics. It is also about spirit, belonging, cultural memory, exchange, and building real connection in community.From calypso and highlife to steel pan, ancestral chant, and the links between Ghana and Trinidad, this is a BlackCellent discussion for anyone interested in culture, music, repatriation, and the living ties between Black people across the world.Watch, share, and join the conversation.#empressaje #ibamusicfestival #door #abibitumi #aes #repatriation #trinighana #blackculture #diaspora #ghana #trinidadandtobago #culturalexchange #ancestralconnection #divinefeminine #blackpower https://egotickets.com/events/....iba-music-festival-2

My goal for Ghana was/is to simply live and experience life, not as a tourist (as much as that is possible). The weekend gave me a nice dose of that!
Take a listen to my story and share your thoughts below!

More about me: https://sociatap.com/TryphenaWade
Check me out on IG: / tryphena_wade


#tryphenawade #globetrotter #travel #ghana #encouragement #lifelessons #restoration #christian #humility #accra #kumasi

In this report, The Spearhead’s McKay Chukwu examines how public anger in South Africa is often directed at African migrants instead of the deeper economic structures driving inequality in the country.

Using recent controversies involving Nigerians in South Africa, the piece shows how frustration is quickly turned toward foreigners while the legacy of apartheid, land dispossession, and the concentration of wealth remain largely untouched.

Xenophobia is a distraction from the real sources of hardship for many Black South Africans, leaving Africans divided against one another while the systems that benefit from that division stay firmly in place.

⁣Borderless Horizons: Ghana's Visa-Free Gambit

Ɔbenfo Ọbádélé Bakari Kambon sits down with Dre Taylor at The Beyond View in Ɔbosomase, Ghana, for a powerful conversation on repatriation, land, development, community-building, and what it means to stop funding the system that oppresses us.This is not just a property tour. This is a conversation between two brothers who “escaped the plantation” and are now focused on demonstration over conversation: building homes, creating community, employing people, supporting local development, and opening pathways for Abibifoɔ serious about repatriation.They discuss Ghana, the Decade of Our Repatriation, Black Power, land, manufacturing, education, identity, miseducation, historical sellouts, and why consciousness without application is not enough.The DOOR is open. Walk through it.Learn more about repatriation support, citizenship, housing, relocation, driver’s licenses, and business setup:https://www.r2gh.com#Repatriation #ghana #blackpower #abibifahodie #decadeofourrepatriation #r2gh #thebeyondview #abibitumi

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Introduction - Dr. John Henrik Clarke · 2000 Black

2000 Black Volume 2: Ascension for Expanision

℗ 1992 T.R.U.T.H. Music

Released on: 1992-01-01

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Abibifahodie Asako End of Class Roda 9 21 2019

La ” Nkoumba ” appelée plus tard à Cuba Rumba est une danse de nombril qui prend sa source en l’Afrique Centrale, plus précisément dans le Royaume Kongo et en République Centrafricaine chez ” Mbati “, un groupe ethnique du sud ouest du pays. En ” Mbati “, tout comme en ” Moukongo “, ” Nkoumba ” désigne le nombril. Chez les “Bakongo” groupe ethnique situé au sud du Congo Démocratique de l’Angola et chez les ” Mbati ” de Centrafrique, la danse de nombril est une expression folklorique charnelle permettant à un couple de danseurs de se produire nombril contre nombril.

Lorsque les esclaves noirs Africains débarquent à Cuba il y a 5 siècles avec la danse ” Nkoumba “, le colonisateur Espagnol supprime l’Africanité de cette expression culturelle, populaire et la baptise Rumba pour l’approprier. Du point de vue linguistique, Cuba conserve à ce jour plusieurs mots d’origine Africaine, et ce en dépit de nombreuses transformations constatées dans l’héritage culturel des anciens esclaves. La Rumba conserve à ce jour quelques mots bantou et yoruba dont on entend dans certaines chansons Cubaines. Lorsque la Rumba est revenue en Afrique entre les années 40 et 50, après avoir été longtemps un moyen d’expression artistique et de revendication des noirs qui dénoncent l’injustice dont ils sont victimes à Cuba, elle a été réappropriée par les Africains. Avec l’évolution du temps, les musiciens Africains intègrent leur folklore dans ce riche patrimoine culturel et l’enrichissent d’autres courants musicaux.